All Things Fair

In 1943 Malmö, amid the chaos of World War II, a 15-year-old boy named Stig (Johan Widerberg) threads together school life, family dynamics, and the pull of growing curiosity. He is close to his older brother Sigge (Björn Kjellman), a boxer who will soon be headed to front-line service, and he bears the quietly mounting weight of a world at war.

During a routine class, Stig is kept after by Viola (Marika Lagercrantz), a married teacher who notices him struggling with a note that reveals his budding confusion about sex. As punishment, he is made to wash the blackboard and chase flies from the classroom, a sequence that ironically marks the beginning of a complicated emotional current. Soon, Stig develops an attraction to Viola, and the two embark on an affair that upends the boundaries of their ordinary lives. Viola’s husband Kjell (Tomas von Brömssen), a traveling salesman, is present in their world and becomes a silent witness to the tension simmering at Viola’s home. He is not angry at Stig in the moment, but the bond that forms among them grows in unexpected ways, aided also by a shared appreciation for classical music—a hobby that Stig’s father, who is fond of the theatre but not of such tastes, does not share.

Across the street, Stig’s neighbor and classmate Lisbet (Karin Huldt) develops a crush on him and tries to catch his attention through radio attempts to imitate the Stockholm dialect. Sigge continues to correspond with Stig from aboard a submarine, sending letters written in a secret code, a detail that threads the siblings’ lives even when they are apart.

The truth of the affair is revealed when Kjell unexpectedly encounters Stig at Viola’s home. Kjell’s reaction is restrained, his familiarity with the situation tempered by his own sense of propriety and the strain of his marital problems. As time passes, Kjell’s drinking becomes more evident to Stig, and the boy’s questions about loyalty and honesty grow louder.

Lisbet’s longing leads to a tense moment when she invites Stig to consider their relationship more seriously. The scenario intensifies when Stig’s attempts to connect with Lisbet collide with his secret life, and Lisbet is hurt by his evasions. A later attempt by Stig to reach Lisbet—sneaking into the girls’ locker area to gain a moment of privacy—reflects the desperation and confusion of adolescence, though the details remain shaded in implication rather than explicitness.

Meanwhile, a shadow falls when Stig learns of a submarine disaster that directly links to Sigge’s letters. The news unsettles him deeply, and he keeps the information close for a time, while his mother (Nina Gunke) senses that something about Stig’s school troubles runs deeper than a few late nights at the cinema. The discovery begins to unsettle the fragile balance of home life, and the family’s previously simple rhythms start to fracture under the strain.

One day, Lisbet confronts the spread of their complicated situation when she discovers Stig with Viola in a moment of vulnerability. The confrontation leaves Lisbet dismayed, and Stig’s attempts to smooth things over are complicated by Viola’s own fragile state and her growing sense that their affair cannot be sustained. Viola’s view of Stig’s school performance hardens into a claim that he has failed her class, a claim that weighs on him as the year draws to a close.

On the final day of the school year, the principal informs Stig that he will repeat a grade, and he heads to Viola’s classroom to retrieve her grade book. There, he finds that the pages recording his performance have been torn out, a cruel sign of the power Viola holds over his academic fate. At that very moment, a plane passes overhead and dumps fuel on the school grounds, injuring several students and bringing a sudden, brutal end to the day’s fragile calm.

Stig attends the funerals of his brother and the submariners who lost their lives, a sorrow that reverberates through his family and alters the course of his future. On the journey home by train, his mother expresses regret that she did not advocate more strongly for his schooling, and she begins to suspect that there is more to Stig’s struggles than mere grade problems. Stig urges her to wait to hear the full story “when she’s older,” signaling a painful, unspoken confession that may be reserved for another time.

In a final, defiant act at Viola’s school, Stig confronts her, making clear his decision to reject the manipulation of their relationship and to claim his own dignity. He leaves Viola’s classroom with the dictionaries he has taken from her desk, a tangible reminder of the power dynamics that have played out between them. The film closes with Stig walking away from the school, carrying his stolen dictionaries in a suitcase, and stepping into an uncertain future shaped by war, secrets, love, and the painful consequences of choices made too early.

Last Updated: October 07, 2025 at 09:57